This monastery is considered to be the most important among the group of monasteries from chronological revealing nine levels of occupation as indicated by superimposed structures, drains and floors. The lower monastery was erected during the reign of Devapala (circa 810-50 AD) by a king of Sumatra as hostels for the monks. It had a central rectangular courtyard, pillared verandah all around in front of the cells, a shrine at the middle of eastern arm, a well, a teacher's platform and the entrance towards west. It was at least double storied as evident by the staircase at south-west corner. The upper monastery have 34 cells containing bed-platforms for monks and shelves for keeping books & valuables in the corners of few cells, pillared verandah in front and entrance towards west approachable through a massive flight of steps. The solid oblong shrine in the courtyard is a later addition whereas the small shrine close to it belongs to Gupta period. With the northern high wall of the courtyard are constructed two chambers containing corbelled entrance and vaulted roof is also a later addition. The evidence of destruction of Nalanda by fire can be noticed in few cells and stucco images also placed in the niches of the portico.

This temple is a little different from other temples of Nalanda in general character & architecture and not conforming to the schematic lay out of the site. It is almost square on plan, each arm measuring about thirty two meter externally and having two phases of construction. Square sanctum measures five meters and has a five metre wide circumlocutory path approachable through a flight of steps towards east. Interesting feature of this temple is the symmetrically arranged row of two hundred and eleven sculptured panels over the beautiful base mouldings veneered with stone. On eastern arm, both the sides of entrance have twenty panels whereas remaining three arms have fifty seven panels on each. Images of gods and goddesses, Jataka stories, scenes from day to day life, human figures, animals, birds, kinnaras, geometrical motif etc. have been beautifully depicted therein. The pilasters intervening between the panels decorated with a pot-and-foliage design and surmounted by arches are quite interesting. On the basis of characteristic features of art and architecture, it has been assigned to seventh cent. A.D.

This temple is most imposing structure in comparison to others spread all around and having seven phase of construction. Earlier four phases are too dilapidated and very small in dimensions which have been concealed again. Fifth, sixth and seventh phase may be seen clearly with their separate staircase. On the basis of art and architecture, the fifth phase has been assigned to sixth century A.D. which contains beautiful stucco images placed in the niches on the exterior walls of the temple. Decorative solid towers were erected at four corners but only two are now visible. Sixth and seventh phases are further enlargement in dimensions by way of concealing the earlier structure. Contrary to the general scheme of other temples at the site this temples is facing to north. The pedestal atop once contained a colossal image probably of Buddha. A large number of votive stupas and miniature shrines have been added around this temple by the devotees at different points of time among which a chariot shaped shrine near the south-east corner is worth mentioning.

This temple is a little different from other temples of Nalanda in general character & architecture and not conforming to the schematic lay out of the site. It is almost square on plan, each arm measuring about thirty two meter externally and having two phases of construction. Square sanctum measures five meters and has a five metre wide circumlocutory path approachable through a flight of steps towards east. Interesting feature of this temple is the symmetrically arranged row of two hundred and eleven sculptured panels over the beautiful base mouldings veneered with stone. On eastern arm, both the sides of entrance have twenty panels whereas remaining three arms have fifty seven panels on each. Images of gods and goddesses, Jataka stories, scenes from day to day life, human figures, animals, birds, kinnaras, geometrical motif etc. have been beautifully depicted therein. The pilasters intervening between the panels decorated with a pot-and-foliage design and surmounted by arches are quite interesting. On the basis of characteristic features of art and architecture, it has been assigned to seventh cent. A.D.